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The Vibrators
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Key Information
The Vibrators were a British punk rock band whose greatest success was in 1977–1978 with the albums Pure Mania and V2. Their first Epic Records single "Baby Baby" is considered a punk classic. A year later, their single "Automatic Lover" hit No. 35 on the UK charts.
Career
[edit]Early career
[edit]The Vibrators were founded by Ian "Knox" Carnochan, bassist Pat Collier, guitarist John Ellis, and drummer John 'Eddie' Edwards. They first came to public notice at the 100 Club when they backed Chris Spedding in 1976. On Spedding's recommendation, Mickie Most signed them to his label RAK Records. Most produced their first single, "We Vibrate". The band also backed Spedding on his single, "Pogo Dancing".
The Vibrators recorded sessions for John Peel at BBC Radio 1 in October 1976, June 1977, and February 1978.[2] They were one of the pioneering punk bands that played at London's Roxy Club. They headlined in January 1977, supported by the Drones, and in February they played twice at the venue.[3] In March 1977, the band supported Iggy Pop on his British tour. Later that year, they backed ex-Mott the Hoople frontman Ian Hunter.
Epic Records
[edit]The band signed to Epic Records in early 1977. Their debut album, Pure Mania was co-produced with Robin Mayhew, the sound engineer for David Bowie's Ziggy Stardust live shows, and reached the top 50 of the UK Albums Chart. The album is well regarded by some music critics and, 17 years after its release, The Guinness Encyclopedia of Popular Music named Pure Mania one of the 50 best punk albums of all time.[4][5][6]
Their follow-up album, V2, narrowly missed the UK top 30. The only single to be taken from that album, "Automatic Lover", was the only Vibrators' single to reach the UK top 40 where it reached No. 35.[7] It earned the band a TV appearance on the prime-time TV show Top of the Pops. The Vibrators' final single on Epic, "Judy Says (Knock You in the Head)", was released in June 1978. It reached No. 70 on the UK singles chart.[7] Years later it was included in Mojo magazine's list of the best punk rock singles of all time.[8]
Later years
[edit]During the 1980s, John Ellis recorded with Peter Gabriel, as well as recording and touring frequently with Peter Hammill, then subsequently the Stranglers, eventually joining the latter full-time in the 1990s. Pat Collier went on to work closely with the Soft Boys, producing their seminal album Underwater Moonlight, and Robyn Hitchcock, producing and mixing some of his solo albums (to which Knox also sometimes contributed). Phil Ram went on to form Able Ram and brought out two singles, "Disco in Moscow" and "Hope We Make It", although without any chart success. Despite numerous line-up changes, the Vibrators continued to record and tour as a three-piece, with "Eddie" being the only original member.[9]
In 2020, the original lineup of Knox, Eddie, Ellis and Collier reunited to record and release the studio album Mars Casino with Chris Spedding providing production, additional guitar, and vocals.[10]
In January 2022, the Vibrators released the new single "He's a Psycho". In July that year, the line-up of Knox, Honkamaki, Bennett and Eddie announced the release of Fall into the Sky claimed to be the final Vibrators album.
Since 2022, the band states in its official website that it would do "no more gigs" but "that individuals from the band might still be doing things".[11]
Collier died on 27 July 2024, at the age of 72.[12]
Influence
[edit]The band Stiff Little Fingers took its name from the Vibrators' song of the same title. The song was penned by John Ellis, and appeared on the Vibrators' debut album Pure Mania. Second wave punk band the Exploited covered the Vibrators' song "Troops of Tomorrow" and used it as the title track for their 1982 album. A cover of "Troops of Tomorrow" was also recorded by the Polish death metal band Vader, and released as a bonus track on the band's 2011 album, Welcome to the Morbid Reich.
Discography
[edit]Studio albums
[edit]- Pure Mania (Epic, EPC 82097, June 1977) – UK No. 49[13]
- V2 (Epic, EPC 82495, April 1978) – UK No. 33
- Guilty (Anagram, GRAM 002, 1982)
- Alaska 127 – 1984
- Fifth Amendment – 1985
- Recharged – 1988
- Meltdown – 1988
- Vicious Circle – 1989
- Volume 10 – 1990
- Hunting for You – 1994
- French Lessons with Correction – 1997
- Buzzin' – 1999
- Noise Boys – 2000
- Energize – 2002
- Punk: The Early Years – 2006 (cover album)
- Garage Punk – 2009 (cover album)
- Pure Punk – 2009 (cover album)
- Under the Radar – 2009
- On the Guest List – 2013
- Punk Mania: Return to the Roots – 2014
- Restless (Die Laughing Records) – 2017
- Past, Present and into the Future – 2017 (containing members of the Pure Mania/V2 lineup, as well as the contemporary lineup)
- Across the Pond (Die Laughing Records) split The Vibrators/Screaming Bloody Marys – 2018
- Mars Casino (Cleopatra Records) – 2020
- Fall into the Sky (Cleopatra Records) – 2022
Singles released up to 1980
[edit]- "We Vibrate" / "Whips and Furs" (RAK, RAK 245, November 1976)
- "Pogo Dancing" / "The Pose" (RAK, RAK 246, November 1976) by Chris Spedding; the Vibrators performed the song in TV appearances
- "Bad Time" / "No Heart" (RAK, RAK 253, March 1977)
- "Baby Baby" / "Into the Future" (Epic Records, SEPC 5302, May 1977)
- "London Girls" (Live) / "Stiff Little Fingers" (Live) (Epic Records, SEPC 5565, August 1977)
- "Automatic Lover" / "Destroy" (Epic Records, SEPC 6137, March 1978) – UK No. 35[13]
- "Judy Says (Knock You in the Head)" / "Pure Mania" (Epic Records, SEPC 6393, June 1978) – UK No. 70
- "Disco in Moscow" / "Take a Chance" (Rat Race Records, RAT 4, October 1980)[14]
See also
[edit]References
[edit]- ^ Mark Deming "The Vibrators – Discography" "AllMusic" Retrieved 30 Oct. 2017
- ^ "Radio 1 – Keeping It Peel – The Vibrators". BBC. Retrieved 3 December 2007.
- ^ Thompson, Dave (2000). 20th Century Rock & Roll-PUNK. Collector's Guide Publication, Ontario, Canada. pp. 61–62. ISBN 978-1-896522-27-2.
- ^ Thompson, Dave (2000). Alternative Rock. San Francisco: Miller Freeman Books. p. 710. ISBN 0-87930-607-6.
Flashes of sheer brilliance ('Whips & Furs'), weirdness (the many Ramones go down the pub songs), and endearing gaucheness (the perfect pop of 'Baby Baby' pummelled by the Stones-whipped lead guitar).
- ^ Deming, Mark. "Pure Mania Review". AllMusic. Archived from the original on 20 March 2022.
both Knox (aka Ian Carnarchan) and Pat Collier had a genius for writing short, punchy songs with sneering melody lines and gutsy guitar breaks. If the Vibrators were into punk as a musical rather than a sociopolitical movement, it's obvious that they liked the music very much, and on that level their debut album stands the test of time quite well.
- ^ Larkin, Colin (1998). All Time Top 1000 Albums. Guinness Publishing, Enfield. Chapter 9. ISBN 978-0-7535-0258-7.
- ^ a b Rice, Tim; David Roberts (2001). British Hit Singles. Guinness World Records. p. 462. ISBN 0-85112-156-X.
- ^ "100 Punk Scorchers". Mojo. October 2001. pp. Issue 95.
- ^ Moser, John J. (13 September 2018). "Concert on final tour of seminal punk band The Vibrators changes venues". The Morning Call. Retrieved 29 April 2019.
- ^ News: The Vibrators Reunite with Chris Spedding for New Album. New Noise Magazine. 10 November 2020. Retrieved 2 February 2021.
- ^ www.thevibrators.com > VIBRATORS' GIGS > 2022
- ^ Bell, Kaelen (29 July 2024). "Vibrators Member and the Jesus and Mary Chain Producer Pat Collier Has Died". Exclaim!. Retrieved 30 July 2024.
- ^ a b Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p. 585. ISBN 1-904994-10-5.
- ^ "Vibrators, The – Disco in Mosco (7") at Discogs". Discogs. 28 August 2009. Archived from the original on 28 August 2009. Retrieved 16 September 2020.
External links
[edit]
Wikimedia Commons has media related to The Vibrators.
- The Vibrators official site
- Google Plus
- Nigel Bennett official site
- The Vibrators at AllMusic
- The Vibrators discography at Discogs
- The Vibrators on www.punk77.co.uk
- The Vibrators on Punkmodpop
- The Vibrators Track Records 2002 profile
- The Vibrators at IMDb
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The Vibrators
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History
Formation and early years
The Vibrators were formed in February 1976 in London amid the burgeoning UK punk rock scene, which exploded that year with raw energy and anti-establishment attitudes challenging the prevailing glam and prog rock dominance. Drummer John "Eddie" Edwards initiated the band, recruiting vocalist and guitarist Ian "Knox" Carnochan, bassist Pat Collier, and guitarist John Ellis to create a group blending pub rock roots with punk's aggressive drive. Emerging from London's underground music circuit, the Vibrators drew initial influences from pub rock acts like Dr. Feelgood, but quickly adapted to punk's faster tempos and DIY ethos as bands like the Sex Pistols and The Clash gained notoriety.[1][7][8] The band's early activities centered on building a live presence through gigs at local pubs and art colleges in London, reflecting the grassroots nature of the 1976 punk movement. Their debut performance occurred in March 1976, opening for The Stranglers at Hornsey Art College in North London, where they honed a high-energy set that mixed catchy hooks with rebellious lyrics. Throughout the spring and summer, they played support slots for emerging punk acts, including a notable appearance backing The Sex Pistols at the 100 Club on Oxford Street in August 1976, exposing them to the intensifying punk fervor. These shows helped solidify their reputation in the scene, transitioning from pub rock's bluesy edge to punk's visceral intensity.[1][9][10] A pivotal moment came in September 1976 when the Vibrators performed at the landmark 100 Club Punk Rock Festival on 20-21 September, sharing the bill with acts like the Sex Pistols, The Clash, and Siouxsie and the Banshees, which cemented their entry into the wider punk community. Amid this buzz, they recorded early demos and released their debut single, "We Vibrate"/"Whips and Furs," on RAK Records in November 1976—one of the year's earliest punk singles—capturing their raw sound and contributing to the genre's independent momentum. Shortly after, they backed Chris Spedding on his single "Pogo Dancing," further showcasing their versatility in the pre-major label phase. By early 1977, these efforts led to a signing with Epic Records, marking the end of their underground beginnings.[1][11]Epic Records era
In late 1976, The Vibrators signed with Epic Records, marking their entry into major-label production and distribution. This deal facilitated the release of their debut single "Baby Baby" in January 1977, a track that captured the band's urgent, hook-driven punk style and became an early staple in their catalog.[12][5] The band's breakthrough came with their debut album Pure Mania, released in July 1977, which peaked at No. 49 on the UK Albums Chart and stayed in the Top 75 for five weeks. Produced with a raw, unpolished edge that emphasized the group's high-energy riffs and Knox's snarling vocals, the album featured standout tracks including "Baby Baby," "We Vibrate," and "Judy Says (Knock Out Drops)," showcasing their blend of pub rock influences and punk aggression.[13][14][15] Following the success of Pure Mania, The Vibrators issued their second album V2 in 1978, which climbed to No. 33 on the UK Albums Chart. The record adopted a slightly more refined production approach while retaining punk vitality, highlighted by singles such as "TV Baby" and "War Zone," alongside hits like "Automatic Lover" (UK No. 35). This era saw the band touring extensively with prominent punk and rock acts, including a high-profile support slot for Iggy Pop's UK dates in early 1977, where David Bowie contributed on keyboards.[16][17][18] Their rising profile led to mainstream exposure, including a performance of "Automatic Lover" on the BBC's Top of the Pops in 1978, as well as appearances on The Old Grey Whistle Test. However, amid growing internal tensions, guitarist John Ellis departed the band in 1978, signaling the end of their initial Epic phase.[5][19][20]Post-Epic developments and lineup changes
Following the underwhelming commercial reception of their 1978 album V2, The Vibrators were dropped by Epic Records.[1] The band, now without frontman Knox who departed in early 1979 to pursue a solo career, reformed in 1980 with vocalist Kip, drummer John "Eddie" Edwards, bassist Ian Woodcock, guitarist Phil Ram, and guitarist Adrian Wyatt.[1] This lineup signed to the independent Rat Race Records, releasing the singles "Gimme Some Lovin'/Powercry" in February 1980 and "Disco in Mosco/Take A Chance" in October 1980, alongside the album Hunting for You later that year.[21][22] Reformation occurred in early 1982 under Knox's leadership, reuniting him with Edwards, a returning Pat Collier on bass, and a returning John Ellis on guitar; this core group signed to Anagram Records, issuing the album Guilty in January 1982 and maintaining a cult following via sporadic European tours despite the era's stylistic shifts away from raw punk.[1][21] That same year, the band also taped material for what would become The Legendary Fifth Album, but it remained unreleased until 2018 as part of a retrospective box set.[22] These efforts highlighted the group's adaptation struggles post-major label support, as the original UK punk scene waned and personnel instability persisted. Meanwhile, Knox released his solo album Plutonium Express in 1983 on Razor Records, featuring a glam-influenced sound with contributions from various collaborators.[23] The band entered a hiatus in the early 1980s, with Knox as the sole constant creative force through his solo endeavors.[1] Further changes followed, including Ellis's departure in 1986 to join The Stranglers (replaced by Mickie Owen) and Collier's exit later that year to focus on production (replaced by Noel Thompson), reflecting ongoing challenges in stabilizing the roster amid independent label moves to Ram and Carrere Records.[1]Revival and recent activity
In the mid-1990s, founding members Knox (Ian Carnochan) and drummer Eddie Edwards reformed The Vibrators with guitarist Mike Bennett and bassist Darrel Miller, marking a resurgence after a period of hiatus. This lineup released Meltdown in 1995 on the indie label Anagram Records, featuring a mix of new songs and previously unreleased tracks that captured the band's punk energy.[24] The following year, they issued the live album Vicious Circle (1996, Anagram), recorded during a performance at London's King's Head pub, showcasing their enduring stage presence.[24][25] The band maintained momentum into the late 1990s and 2000s with Knox and Edwards as the core, incorporating new members like bassist Nik Trokic for the studio album Buzzin' (1999, Raw Power), which blended raw punk riffs with melodic hooks on an independent Swedish label.[24][26] Further releases included the acoustic compilation Unpunked (2000, Ataque Frontal) and Energize (2002), both on indie imprints, reflecting the group's adaptability while staying true to their roots. In 1990, they released Volume 10 on Revolver Records, marking a subtle evolution toward new wave and power pop elements while retaining punk energy.[21][27] Lineup stability in the 2000s centered on Knox and Edwards, enabling consistent output amid punk revival scenes.[5] Activity continued sporadically through the 2010s, with albums like Under the Radar (2009, Captain Oi!) and the original lineup's reunion project Mars Casino (2020, Cleopatra Records), produced with contributions from guitarist John Ellis and bassist Pat Collier.[21] In 2022, the band released Fall into the Sky (Cleopatra), announced as their final studio album, featuring Knox, Edwards, and supporting players in a nod to their classic sound.[28] That same year, a box set The Albums 1985-1990 (Revolver/Cherry Red) revived unreleased and remastered material from their 1980s era, including The Fifth Amendment and live recordings, underscoring their archival legacy. In 2024, the band announced they would no longer tour. That September, Cherry Red Records released CD editions of their first two albums, Pure Mania and V2.[5][15] Tours persisted into the early 2020s, with U.S. dates in 2022 highlighting their transatlantic appeal, including performances that drew on 1970s punk nostalgia.[29] UK shows in 2024, such as at The Albert in Brighton and New Cross Inn in London, celebrated punk anniversaries amid festival circuits like Rebellion.[30] By 2025, no major new releases or full-band tours were reported, though drummer Eddie Edwards appeared on the TV show Never Mind the Buzzcocks in November, affirming the band's lasting cultural footprint as a retired act.[5]Band members
Original and core lineup
The Vibrators were founded in February 1976 in London by Ian "Knox" Carnochan on lead vocals and guitar, John Ellis on lead guitar, Pat Collier on bass, and John "Eddie" Edwards on drums.[1] This original lineup defined the band's raw, energetic punk sound during their formative years, with Knox emerging as the primary songwriter responsible for many of the group's early hits, including tracks on their debut album Pure Mania.[1] Knox, born Ian Milroy Carnochan in 1945, brought a wealth of prior experience from the 1960s mod and R&B scenes, infusing the Vibrators' music with melodic hooks and satirical lyrics that captured the punk ethos.[31] His songwriting dominated the band's output in 1977 and 1978, driving their rapid rise through high-energy live performances at seminal venues like the 100 Club Punk Rock Festival and support slots for acts such as the Sex Pistols and Iggy Pop.[1] John Ellis, the band's lead guitarist from 1976 to 1978 and in later reunions, contributed sharp, riff-driven guitar work that complemented Knox's compositions, notably on Pure Mania where he co-wrote and performed on tracks like "Sweet, Sweet Heart."[1] His technical prowess and dual guitar approach with Knox added a layer of aggression and harmony to the band's stage presence during their 1977-1978 peak, including tours with Ian Hunter and the release of singles like "Baby Baby" and "London Girls."[1] Ellis's riffs helped establish the Vibrators' distinctive blend of punk speed and rock accessibility in live sets that energized audiences across the UK punk circuit.[32] Ellis left in 1978 to form Rapid Eye Movement and later joined The Stranglers. Pat Collier, the original bassist from 1976 to 1977, provided the driving rhythm section foundation that anchored the band's fast-paced performances, collaborating closely with Edwards to maintain a tight, propulsive groove during key 1977 gigs at the 100 Club.[1] Collier departed in late 1977 and was replaced by Gary Tibbs for the 1978 album V2 and single "Automatic Lover." After leaving the group, Collier transitioned into production, working on albums for bands including the Jesus and Mary Chain and the Soft Boys, leveraging his early engineering experience from the Vibrators era.[4] He rejoined for the 1982 reunion but left again in 1986; Collier died in July 2024.[33] John "Eddie" Edwards, the founding drummer from 1976 onward, was central to the band's explosive live energy in 1977-1978, delivering relentless beats that powered anthems like those on V2.[1] His consistent role across the core period and beyond, including reunions and up to the 2020s, underscored the lineup's durability, with the group later adding various bassists and guitarists to sustain their momentum post-original era.[1] Edwards remained the only constant member through numerous changes. In late 1978, Knox briefly pursued a solo career, releasing the album Plutonium Express in 1983, before rejoining the Vibrators in 1982, while the original quartet's collaborative songwriting and stage chemistry remained the bedrock of their identity.[1]Lineup evolution
Following the original lineup of Knox on guitar and vocals, John Ellis on guitar, Pat Collier on bass, and John "Eddie" Edwards on drums, the band's personnel began evolving significantly after 1977. In late 1977, bassist Pat Collier departed and was replaced by Gary Tibbs, previously of Roxy Music, for the V2 album and "Automatic Lover" single.[1] Tibbs' tenure was brief, as he left in 1979 to join Roxy Music full-time, contributing to a period of instability that saw the band experiment with new wave and post-punk directions in demos featuring more prominent guitar solos and glam influences.[22] By early 1979, frontman Knox exited to pursue a solo career (temporarily, rejoining in 1982), prompting a major reconfiguration in 1980 with Kip taking over vocals, Ian Woodcock (ex-Eater) on bass, Phil Ram on guitar, Adrian Wyatt on second guitar, and Edwards remaining on drums.[1][22] This iteration leaned into a straighter rock sound, diluting some of the raw punk edge with elements like disco-inflected tracks, before the group disbanded at the end of the year.[22] Although no direct evidence links Mike Herbage (ex-Motörhead) to the Vibrators in 1980, the lineup's expansion to five members reflected efforts to broaden the band's appeal beyond punk circuits.[34] The Vibrators reformed in 1982 with the original core—Knox, Edwards, Collier, and Ellis—restoring much of their punk foundation, though subsequent shifts pushed toward a more rock-oriented style in the mid-1980s.[1] In 1986, Collier left once more, temporarily replaced by Noel Thompson and then Mark Duncan on bass, while Ellis departed for The Stranglers and was succeeded by Mickie Owen on guitar; these transitions occasionally reduced the band to a trio, emphasizing a tighter, pub-rock-infused sound over elaborate punk arrangements.[1] By 1990, Owen exited, with Nigel Bennett (ex-The Members) joining on guitar to stabilize the configuration alongside Knox, Edwards, and Duncan.[1] In the mid-1990s, the band continued with Knox, Edwards, and Bennett, later incorporating bassist Nick Peckham in 1996 alongside guitarist Darrell Bath, before becoming a trio of Knox, Peckham, and Edwards by 1997. Peckham left in 1999, replaced by Robbie Tart, who was succeeded by Pete Honkamaki in 2003.[1] Entering the 2000s, the band maintained activity centered on Edwards (drums since the 1970s), with Bennett returning temporarily during Knox's 2008–2009 health issues. In 2011, Knox departed due to health reasons to focus on his solo career.[35] The band continued as a trio of Edwards, Bennett on guitar, and Honkamaki on bass, touring extensively until announcing retirement from touring in 2022.[32] As of 2025, there is no active touring lineup, though archival and special releases continue, including the 2023 album Mars Casino featuring original members Knox, Edwards, Ellis, and Collier (who died in July 2024).[5] These post-1980s evolutions generally oriented the band's sound more toward rock, incorporating psychedelic and rap-punk hybrids while preserving core punk aggression, allowing sustained activity despite flux.[22]Musical style and influences
Punk roots and sound characteristics
The Vibrators' core punk sound, as exemplified on their debut album Pure Mania, is characterized by fast tempos, simple chord progressions, and raw, aggressive guitar riffs that capture the raw energy of first-wave UK punk.[36] Frontman Knox's snarling, nasal vocals deliver a snotty edge, often sneering over buzzsaw guitars and four-on-the-floor drumming, creating taut, hook-driven tracks that prioritize urgency and directness over complexity.[37][36] This instrumentation features dual guitars for layered aggression and driving bass lines that propel the rhythm section, embodying the DIY ethos of early punk with minimalistic, high-impact arrangements.[37] Song themes in their punk era revolve around youth rebellion, urban grit, and tumultuous relationships, blending provocative tales of cheap thrills and low-life escapades with a playful, proto-punk pop sensibility.[36] Tracks like "Baby Baby" exemplify this by fusing rebellious attitude with catchy, melodic hooks, offering a lighter contrast to the genre's more nihilistic strains while maintaining an undercurrent of social defiance.[37] Production on early releases reflects punk's raw aesthetic, with unpolished mixes that emphasize live-wire intensity, though Epic Records outings introduced slightly cleaner sonics without diluting the core aggression.[38] Over time, the band's sound evolved from the raw, adrenalized punk of their origins to a more polished new wave inflection on V2, incorporating snappier pop structures, audio effects, and varied pacing while retaining punk's irrepressible energy.[38] By the 1980s and 2000s, garage rock influences emerged prominently, with albums like Recharged and Meltdown channeling rock 'n' roll edges akin to the New York Dolls, thicker guitar tones, and crisper drums that blended punk's spirit with fuller, more diverse sonic palettes.[39] This progression highlights a garage-infused maturation, where early DIY rawness gave way to professional production that amplified their melodic punk foundations without abandoning the aggressive layering of guitars and bass.[39]Key influences on the band
The Vibrators emerged from the pub rock scene of mid-1970s London, where bands like Dr. Feelgood provided a foundational influence through their raw, R&B-infused performances that combined high-energy delivery with an unpolished attitude, shaping the group's early sets and transition toward punk. This precursor movement emphasized direct, no-frills rock that bridged blues traditions with the aggression soon to define the punk explosion.[40] Proto-punk from across the Atlantic played a pivotal role, with the glam-infused chaos of the New York Dolls and the raw intensity of Iggy Pop and the Stooges imparting a theatrical, high-octane energy to The Vibrators' sound, while the MC5's politically charged anthems added an edge of rebellion and social commentary. These American influences, channeled through the Ramones' stripped-down approach, helped politicize and harden the band's emerging style.[41][42] In the UK, the band absorbed elements from contemporaries during their formative 1976 gigs, including the Sex Pistols' provocative shock tactics and The Damned's blistering speed, which amplified the raw urgency in shared performances at venues like the Nag's Head. Broader rock roots traced back to 1960s garage acts such as The Kinks and The Rolling Stones, whose riff-driven songcraft informed The Vibrators' melodic yet aggressive structures.[43][29] Frontman Knox's songwriting was particularly swayed by the catchy hooks of bubblegum pop and the flamboyant flair of 1970s glam, drawing from acts like Gary Glitter, Slade, and T. Rex to infuse punk with accessible melodies and streetwise humor, while the Velvet Underground's experimental edge profoundly shaped his lyrical style.[42]Discography
Studio albums
The Vibrators' debut studio album, Pure Mania, was released in 1977 by Epic Records. Featuring 12 tracks, it serves as a raw punk debut and reached No. 49 in the UK charts.[3][14] Their second album, V2, came out in 1978 on Epic Records with 13 tracks that adopted a more melodic approach compared to their debut, including the track "War Zone."[5][18] Guilty was released in 1982 on Anagram Records.[44] Alaska 127 followed in 1984 on Ram Records.[45] Fifth Amendment appeared in 1985 on Ram Records.[46] The band released Hunting for You in 1994 on Dojo Records, consisting of 11 tracks.[47] Volume 10 was issued in 1990 on Revolver Records.[48] Buzzin' was released in 1999 on Raw Power Records with 15 tracks, drawing on garage rock revival elements.[49] Mars Casino (with Chris Spedding) came out in 2020 on Cleopatra Records.[50] Fall into the Sky, the band's final studio album, was released in 2022 on Cleopatra Records, comprising 12 tracks.[51]Singles and EPs
The Vibrators' singles output began in the mid-1970s amid the burgeoning UK punk scene, with early releases on independent labels like RAK serving as their introduction to a wider audience. Their debut single, "We Vibrate"/"Whips and Furs," was a limited 7-inch release on RAK Records in 1976, capturing the band's raw energy and marking their entry into punk's DIY ethos before transitioning to major label Epic. This track, produced in small quantities, highlighted their garage-punk influences and helped build underground buzz without commercial chart success.[21] Upon signing with Epic in 1977, the band achieved their first breakthrough with "Baby Baby"/"Into the Future," released as a 7-inch single that May. Peaking at No. 10 on the UK Independent Chart, it became a punk staple for its catchy, anthemic hook and aggressive guitar work, often cited as a key moment in their major-label phase. Later that year, a live version of "London Girls"/"Stiff Little Fingers" followed in August, recorded at London's Electric Ballroom, emphasizing their high-energy stage presence but failing to chart significantly.[21][6] In 1978, the Vibrators notched their highest UK chart entry with "Automatic Lover"/"Destroy" on Epic, reaching No. 35 on the national singles chart and earning them a rare appearance on Top of the Pops. The synth-infused A-side blended punk with new wave elements, while the B-side's chaotic riffing reinforced their roots. This was followed by "TV Baby"/"Sweet, Sweet Heart" later that year, which did not chart on the UK Singles Chart, offering a satirical take on media obsession with its fast-paced delivery. Another notable release, "War Zone"/"Gimme Some Lovin'," emerged as a punk anthem single on Epic, with the original A-side critiquing urban decay and the Spencer Davis Group cover on the B-side providing a high-octane twist, though it did not chart. "Judy Says (Knock You in the Head)"/"Yeah Yeah Yeah" closed the year at No. 70 on the UK chart, noted for its rebellious lyrics and lasting fan appeal.[3] Post-Epic, the band's 1980 output shifted to the independent Rat Race label with "Baby, Be My Slave"/"Judy Says," a darker, post-punk-leaning single that reflected lineup changes and label woes, achieving modest indie traction but no major chart impact. Later singles included a 1995 reworking of "London Girls" on Japan Records, reviving the early classic with updated production, and "Ripped and Torn" in 2000 on their own Vibrators Records imprint, showcasing enduring punk vitality. More recent efforts, such as "Fallen Angel" in 2019 on Cleopatra Records, continued their tradition of concise, guitar-driven releases aimed at core fans.[21][6] Regarding EPs, the Vibrators issued few standalone efforts. No significant EPs charted after 1980, as the band focused on full-length albums and sporadic singles amid lineup shifts.[34]| Key Singles | Year | Label | A-Side / B-Side | UK Chart Peak |
|---|---|---|---|---|
| We Vibrate / Whips and Furs | 1976 | RAK | We Vibrate / Whips and Furs | - |
| Baby Baby / Into the Future | 1977 | Epic | Baby Baby / Into the Future | Indie No. 10 |
| Automatic Lover / Destroy | 1978 | Epic | Automatic Lover / Destroy | No. 35 |
| TV Baby / Sweet, Sweet Heart | 1978 | Epic | TV Baby / Sweet, Sweet Heart | - |
| War Zone / Gimme Some Lovin' | 1978 | Epic | War Zone / Gimme Some Lovin' | - |
| Judy Says / Yeah Yeah Yeah | 1978 | Epic | Judy Says / Yeah Yeah Yeah | No. 70 |
| Baby, Be My Slave / Judy Says | 1980 | Rat Race | Baby, Be My Slave / Judy Says | - |
| London Girls | 1995 | Japan Records | London Girls / - | - |
| Ripped and Torn | 2000 | Vibrators Records | Ripped and Torn / - | - |
| Fallen Angel | 2019 | Cleopatra | Fallen Angel / - | - |